Artist Unknown have landed home. Over a decade ago they delivered their very own odd take on electronic pop music, delivering anthems for a twisted generation. And then, after two EPs and a ground-breaking album on Disko B (and an underappreciated album on Datapunk a few years later), they just disappeared. The new EP on Disko B not only delivers three exceptional remixes of the classic Artist Unknown tracks "Control" and "Behind Your Eyes" by The Hacker, Housemeister and Ferenc, but it also features a new track, "Undead".

Pollyester, whose fans include James Murphy and Alex Kapranos, follow their 2015 album City of O. (DB 170CD/LP) with three remixes of album track "Catrina." On Abe Duque's remix shadowy flakes of Polly's voice echo through the background and a 303 finds its way to the surface where classic disco strings are waiting to merge in pollyphonic beatitude. Disco edit and cosmic dub priest Hugo Capablanca adds rattling percussion and a mumbling bassline to drive his more melodic remix forward. The most sinister version comes from The Emperor Machine, who turns in a work of functional Detroit techno pervaded with classic electro patterns.

Internationally lauded as an exciting mixture between Les Rita Mitsouko and krautrock, Pollyester has become one of the hottest disco-punk shooting stars. Franz Ferdinand's Alex Kapranos as well as James Murphy (LCD Soundsystem) quickly became fans of the quartet. The video for "In My Boots" from their 2015 album City of O (DB 170CD) was named "best video of the month" by German public-service broadcaster Bayerischer Rundfunk. Now with a 12'' four-track club/disco remixes EP of "In My Boots," Pollyester continues to defend and expand its natural habitat: The Dancefloor. Remixes by Bartellow, Whatever/Whatever, and Outlier Inn (Josh Druckman).

Looking back, it seems like Daniel Herrmann aka Flug 8's musical career was destined to be. His grandfather was an organ builder. There was hardly a single room where not one of these instruments stood, on which he was already strumming ardently in his younger years. Phases in punk, heavy and Krautrock bands followed and consequently, the first synthesizers. A project in art school, a combination of old Super 8 recordings from his parents and his own material, gave birth to his artist name, Flug 8. His second love belongs to photography. The feeling for the right moment, the intimate instant, he proved inter alia in the photo project "12x672," a collaboration with Tobias Thomas. At the famous techno club Robert Johnson not only was the photography ban put aside for him, he even met Acid Pauli after a long evening studio session. "A Little Nightcap" was followed by the first 12", Taunus in 2008, and the barely-apprehended album Lösch dein Profil in 2009, both on Acid Pauli's Smaul imprint. Another highlight surely was the year on tour together with the Red Hot Chili Peppers, whose first live LP he configured with his photo shots. These are only a few of the cornerstones Herrmann has chiseled his initials in. And now, his debut on Disko B: Trans Atlantik is way more than a collection of tracks, it is the pure essence of all these images, impressions and emotions Daniel Herrmann gathered during the sometimes endless and lonely hours of travelling. "Zeitraffer," "Trans Atlantik" and "Android" are reminiscent of tracks on important electronic labels such as Sky or Brain and stand in the tradition of great artists like Klaus Schulze or Kraftwerk, without remaining in the past, but looking straight forward into the future. One highlight is the cooperation with N.U. Unruh, who not only hammered the appropriate sounds in Einstürzende Neubauten but also for "Musik aus Metall." As a result from the collaboration with the Danish artist Kristina Kristoffersen aka Mono Girl we receive the fragile electro-pop beauty "Watch Me Grow" and the Gothic hymn "On a Spear." Of course, his signature sound in the shape of Krauty-house-y techno is not to be missed -- the dancefloor shakes under the influence of "Konsumprodukt" and "Zukunft." If there is a constant in the Disko B universe, then it is broadening the label family with unique artists.

Gatefold double LP version with free CD version. Looking back, it seems like Daniel Herrmann aka Flug 8's musical career was destined to be. His grandfather was an organ builder. There was hardly a single room where not one of these instruments stood, on which he was already strumming ardently in his younger years. Phases in punk, heavy and Krautrock bands followed and consequently, the first synthesizers. A project in art school, a combination of old Super 8 recordings from his parents and his own material, gave birth to his artist name, Flug 8. His second love belongs to photography. The feeling for the right moment, the intimate instant, he proved inter alia in the photo project "12x672," a collaboration with Tobias Thomas. At the famous techno club Robert Johnson not only was the photography ban put aside for him, he even met Acid Pauli after a long evening studio session. "A Little Nightcap" was followed by the first 12", Taunus in 2008, and the barely-apprehended album Lösch dein Profil in 2009, both on Acid Pauli's Smaul imprint. Another highlight surely was the year on tour together with the Red Hot Chili Peppers, whose first live LP he configured with his photo shots. These are only a few of the cornerstones Herrmann has chiseled his initials in. And now, his debut on Disko B: Trans Atlantik is way more than a collection of tracks, it is the pure essence of all these images, impressions and emotions Daniel Herrmann gathered during the sometimes endless and lonely hours of travelling. "Zeitraffer," "Trans Atlantik" and "Android" are reminiscent of tracks on important electronic labels such as Sky or Brain and stand in the tradition of great artists like Klaus Schulze or Kraftwerk, without remaining in the past, but looking straight forward into the future. One highlight is the cooperation with N.U. Unruh, who not only hammered the appropriate sounds in Einstürzende Neubauten but also for "Musik aus Metall." As a result from the collaboration with the Danish artist Kristina Kristoffersen aka Mono Girl we receive the fragile electro-pop beauty "Watch Me Grow" and the Gothic hymn "On a Spear." Of course, his signature sound in the shape of Krauty-house-y techno is not to be missed -- the dancefloor shakes under the influence of "Konsumprodukt" and "Zukunft." If there is a constant in the Disko B universe, then it is broadening the label family with unique artists.

Schlachthofbronx is the Munich-based duo of Benedikt and Jakob, producers and performers of innovative multi-genre club music. In addition to being known as on-point performers on club and festival stages, the guys also built their reputation with production and studio work with and for artists like Snoop Dogg, M.I.A., Major Lazer, Buraka Som Sistema, and Bonde do Rolê. Their tracks get support on BBC radio as well as praise and spins from a wide range of fellow DJs and artists (like Modeselektor, Brodinski, Crookers, Toddla T, Rob da Bank, Diplo, Laidback Luke, DJ Hell, Mr. Oizo, Annie Mac... you name it). In the club they deliver a fast-paced, eclectic mix of styles and genres, reflecting their various influences reaching from dancehall reggae and hip-hop over booty bass to techno, cumbia, and UK bass, to name a few. With two studio albums and countless EPs, singles, and remixes on, for example, Disko B, Mad Decent, Monkeytown Records, Mixpak, and Man Recordings under their belt, they now present their third studio album, Rave and Romance. A varied mix of rump-shaking slow jams and bass-heavy rave tunes, it directly represents the diversity of their unique sound, with appearances from fellow ravers and romantics Nicky da B (USA), Warrior Queen (Jamaica), Bonde do Rolê (Brazil), and candelilla (Germany). Rave and Romance appears in the midst of Schlachthofbronx's ongoing, never-ending worldwide tour, with previous stops including clubs and festivals all over Europe, North American tours both solo and in support of M.I.A., plus detours to places like Russia, South Africa, and more. Schlachthofbronx pride themselves on the diversity of their touring schedule -- they can follow a rave in a small Bavarian town's strip club with a big festival in Mexico, a special one-off show with a brass band at Munich's Oktoberfest, or a performance on a sound system truck during London's Notting Hill Carnival. These guys play clubs, festivals, museums, tents, boats, floats, buses, strip joints, and beer gardens; it doesn't matter where, Schlachthofbronx always start a party. With their Rave and Romance formula and their bag of custom-made tracks and exclusives, Schlachthofbronx will continue to put happy, sweaty smiles on every listener's face. Double LP limited to 300 copies.

Console is one of the main projects for Martin Gretschmann, the lead programmer for the German indie rockers known as The Notwist. He did several collaborations and remixes with/for artists such as Björk, Depeche Mode, Barbara Morgenstern and many more. For the second part of the "Herself" remixes, Daniel Bortz, Der Dritte Raum and Nu interpret the Console tracks in a new way and show fresh facets of the original material.

2014 restock. 180 gram vinyl. Founded 40 years ago in 1972, The Pyramids released three albums before splitting up in 1977. Lalibela (1973) was the first album recorded by The Pyramids following their landmark journey throughout Africa as students from Antioch College in Yellow Springs, Ohio. The album is one of the first cutting-edge "concept" albums, as each side of the LP seamlessly flows from one composition to the next in the vein of a suite painting a musical portrait of the African adventure experienced by founding members Idris Ackamoor, Margaux Simmons, and Kimathi Asante. Lalibela, Ethiopia was the inspiration for the album. A journey to experience the 12th-century rock churches of Lalibela by Margaux and Idris closed out their nine-month African odyssey. The personnel for the recording was augmented by new members percussionist Bradie Speller (Hekaptah), drummer Marcel Lytle, and soprano saxophonist Tony Owens (Masai). The album has plenty percussion-driven rhythms, beautiful alto sax and flute melodies, soaring and "out" improvisations, ritualistic chants, meditative tone pieces, high energy modal jams, and exotic African instruments collected during the African trip.

2014 restock. On 180 gram vinyl. King of Kings (1974) was the second album that reunited all original members including drummer Donald Robinson while adding several special guests, pianist Jerome Sanders and cellist Chris Chafe. King of Kings was recorded at Appalachia Sound Recording Studio located several hours away from Antioch in Chillicothe, Ohio. Unknown to the band at the time, Chillicothe was the site of ancient Indian burial mounds. This reality added to the very spiritual quality of the recording. The opening track "Mogho Naba" continued the group's fascination and interest in African history and reflections. The Mogho Naba is the King of the Mossi people in what is now Burkina Faso, but dates back in antiquity. The tune's rhythm is infectious. The use of call and response chants and beautiful horn lines is meant to hypnotize and induce trance-elevating spiritual consciousness. "Queen of the Spirits" was written as a dedication to flautist Margaux Simmons. It is one of the band's favorite pieces of music. Utilizing the Ugandan harp, the African one-string fiddle (goge), percussion, piano, and cello, the closing is prescient harking to world music and music for meditation that would come years later. The UK band Bonobo sampled a section of the composition for their European hit album Days to Come.

2015 repress. On 180 gram vinyl. Birth/Speed/Merging, originally released in 1976, represents the San Francisco Bay Area era of the band. Relocating from Yellow Springs, Ohio in 1974, The Pyramids quickly met other musicians in the thriving San Francisco Bay Area music scene. "The Pyramids, a criminally under-recognised spiritual jazz collective, were birthed at the dawn of the 1970s in Ohio, and included saxophonist Idris Ackamoor, flautist Margo Simmons, bassist Kimathi Asante and drummer Donald Robinson. Delving deep into a world of pan-African rhythms and melodies, they combined them in novel ways with the psychedelic modal jazz simmering in America at the time. The group released three private-press records in the US throughout the 70s, highly regarded by collectors, which consistently fetched incredibly large sums of money." -- savagesaints.blogspot.com

Founded 40 years ago in 1972, The Pyramids released three albums before splitting up in 1977: Lalibela (1973), King of Kings (1974), and the seminal Birth/Speed/Merging LP (1976). Three albums that made them one of the most mysterious and legendary of all the spiritual cosmic jazz collectives of the early '70s, like the Art Ensemble of Chicago and Sun Ra. "We were way ahead of our time, so we decided to let time catch up." -- Idris Ackamoor. After a highly energetic reunion of the group in 2007, The Pyramids released Otherworldly (DB 159CD), the first Pyramids' album in over 35 years. To complete the story of The Pyramids, Disko B now re-releases these three rare recordings in a triple CD box under the title: They Play to Make Music Fire! The Pyramids 1973-1976. Lalibela was the first album recorded by The Pyramids following their landmark journey throughout Africa as students from Antioch College in Yellow Springs, Ohio. The album is one of the first cutting-edge "concept" albums as each side of the LP seamlessly flows from one composition to the next in the vein of a suite painting a musical portrait of the African adventure experienced by founding members Idris Ackamoor, Margaux Simmons, and Kimathi Asante. Lalibela, Ethiopia was the inspiration for the album. A journey to experience the 12th century rock churches of Lalibela by Margaux and Idris closed out their nine-month African odyssey. The personnel for the recording was augmented by new members percussionist Bradie Speller (Hekaptah), drummer Marcel Lytle, and soprano saxophonist Tony Owens (Masai). The album has plenty percussion driven rhythms, beautiful alto sax and flute melodies, soaring out-there improvisations, ritualistic chants, meditative tone pieces, high energy modal jams, and exotic African instruments collected during the African trip. King of Kings was the second album that reunited all original members including drummer Donald Robinson while adding several special guests, pianist Jerome Sanders, and cellist Chris Chafe. King of Kings was recorded at Appalachia Sound Recording Studio located several hours away from Antioch in Chillicothe, Ohio. Unknown to the band at the time, Chillicothe was the site of ancient Indian burial mounds. This reality added to the very spiritual quality of the recording. The opening track "Mogho Naba" continued the groups' fascination and interest in African history and reflections. The Mogho Naba is the King of the Mossi people in what is now Burkina Faso, but dates back in antiquity. The tune's rhythm is infectious. The use of call and response chants and beautiful horn lines is meant to hypnotize and induce trance elevating spiritual consciousness. "Queen of the Spirits" was written as a dedication to flautist Margaux Simmons. It is one of the bands' favorite pieces of music. Utilizing the Ugandan harp, the African one string fiddle (goge), percussion, piano, and cello, the closing is prescient harking to world music and music for meditation that would come years later. The UK band Bonobo sampled a section of the composition for their hit album Days to Come. Birth/Speed/Merging represents the San Francisco Bay Area era of the band. Relocating from Yellow Springs, Ohio in 1974, The Pyramids quickly met other musicians in the thriving San Francisco Bay Area music scene. After the departure of original member Kimathi to continue his African studies a very talented acoustic bass player named Heshima Mark Williams joined the band along with a new conga player named Mcheza Ngoma and new drummer Augusta Lee Collins. The Pyramids began working extensively around the area. Within the next year Kimathi returned from his travels and rejoined the band. The Pyramids now had two bass players; one acoustic and one electric. The composition "Jamaican Carnival" pays homage to the beautiful Caribbean island Jamaica and is one of the bands' most danceable tunes. For the composition "Birth/Speed/Merging Suite" the band utilized the brilliant percussionist Kenneth Nash to play on the track and it is one of the bands' most interesting and exotic compositions. There are a variety of unusual and beautiful percussion and string instruments used on the track featuring the Ugandan Harp, the Chinese Cheng, and a string instrument called the rosenbow. The composition is an aural delight of unusual sounds and beautiful colors. The box comes with a booklet and video of the band.

Founded 40 years ago in 1972, The Pyramids release their first album in over 35 years. They released three albums before splitting up in 1977 -- albums that made them one of the most mysterious and legendary of all the spiritual cosmic jazz collectives of the early '70s. There was a highly energetic reunion in 2007, boosting their trademark sound of massive Afro-centric drums and percussion meeting ecstatic group improvisations. The Pyramids' extensive European tours in 2010/2011 turned out to be a great triumph: mesmerizing audiences at various clubs and festivals all over Europe with a new sound and a new band configuration featuring founding members Idris Ackamoor and Kimathi Asante, original member Bradie Speller, and special guest artists Kenneth Nash and Kash Killion. The collective received rave reviews and standing ovations in every city they played in. They also blew Gilles Peterson's mind at Worldwide Festival and the Worldwide Awards, where The Pyramids' spiritual and musical leader, Idris Ackamoor was honored with a Lifetime Achievement Award. In summer 2011, The Pyramids were recording tracks for a new double album (the first since 1976) at the studio of Krautrock legends Faust in South Germany. The new album contains 14 never-before-released tracks. The Pyramids' signature sound is still percussion-driven -- no surprise with Nash and Speller being two of the most masterful percussionists on the planet. Another signature style of The Pyramids is the "two bass" concept, combining Kash Killion's acoustic bass with electric bass by Thomas "Kimathi Asante" Williams. Idris Ackamoor plays his alto sax in an absolutely astonishing way, sometimes simultaneously performing tap dance to create percussive rhythms, suggesting a "post-be-bop Prince" as The New York Times called him. The Pyramids trip out into unexplored territory of spontaneous improvisation, sometimes trancing like off to an outer/inner-space journey. The Pyramids were world music even before the term was coined back in the early '70s. They use a battery of ethnic instruments such as mbira, calypso boxes, Russian zither, West African bolong, Egyptian sensemia harp, pygmy whistle, etc., using them in a manner quite otherworldly.

2015 repress. Gatefold double LP version on 180 gram vinyl. Founded 40 years ago in 1972, The Pyramids release their first album in over 35 years. They released three albums before splitting up in 1977 -- albums that made them one of the most mysterious and legendary of all the spiritual cosmic jazz collectives of the early '70s. There was a highly energetic reunion in 2007, boosting their trademark sound of massive Afro-centric drums and percussion meeting ecstatic group improvisations. The Pyramids' extensive European tours in 2010/2011 turned out to be a great triumph: mesmerizing audiences at various clubs and festivals all over Europe with a new sound and a new band configuration featuring founding members Idris Ackamoor and Kimathi Asante, original member Bradie Speller, and special guest artists Kenneth Nash and Kash Killion. The collective received rave reviews and standing ovations in every city they played in. They also blew Gilles Peterson's mind at Worldwide Festival and the Worldwide Awards, where The Pyramids' spiritual and musical leader, Idris Ackamoor was honored with a Lifetime Achievement Award. In summer 2011, The Pyramids were recording tracks for a new double album (the first since 1976) at the studio of Krautrock legends Faust in South Germany. The new album contains 14 never-before-released tracks. The Pyramids' signature sound is still percussion-driven -- no surprise with Nash and Speller being two of the most masterful percussionists on the planet. Another signature style of The Pyramids is the "two bass" concept, combining Kash Killion's acoustic bass with electric bass by Thomas "Kimathi Asante" Williams. Idris Ackamoor plays his alto sax in an absolutely astonishing way, sometimes simultaneously performing tap dance to create percussive rhythms, suggesting a "post-be-bop Prince" as The New York Times called him. The Pyramids trip out into unexplored territory of spontaneous improvisation, sometimes trancing like off to an outer/inner-space journey. The Pyramids were world music even before the term was coined back in the early '70s. They use a battery of ethnic instruments such as mbira, calypso boxes, Russian zither, West African bolong, Egyptian sensemia harp, pygmy whistle, etc., using them in a manner quite otherworldly.

Munich's Schlachthofbronx present their second full-length album, Dirty Dancing. Since their debut album in 2009, Schlachthofbronx started touring almost non-stop: clubs & festivals all over Europe, supporting M.I.A. as well as solo tours in the U.S., Canada and Mexico. Be it between Melt, Roskilde, SXSW or Sónar, by now Schlachthofbronx could probably also run pro workshops in travel efficiency. However, all this travelling did not keep them from putting out new tracks on a regular basis. Alone in 2011, four new Schlachthofbronx EPs were released, plus plenty of remixes. Their tracks work as well in Ibiza as they do on the almighty BBC radio. No wonder top DJs can't keep their hands off: Crookers, Toddla T, Rob Da Bank, Diplo, Radioclit/TheVeryBest, Laidback Luke, Mistajam, Mr. Oizo, Annie Mac, you name it. You may call Dirty Dancing booty bass or just "dirty dance music." Influences are ghettotek, juke, UK bass, cumbia, dancehall/reggae, etc. Compared to the debut album, Schlachthofbronx opened up even more to different styles, sometimes even leaning towards techno -- and most obviously got more versatile when it comes to the tempo. Forget about the cliché 128 bpm club tempo dogma -- Dirty Dancing is dance music with heavy bass and the occasional explicit lyrics. In times in which everyone and their mothers put some cumbia in their tracks, pioneers like Schlachthofbronx are already seven steps ahead and experiment in their studio basement to see which other styles could work together -- ukuele bass, ghettotek/booty bomb, dancehall, electro, drum n' bass, surf bounce, moombahton and more. As expected, Schlachthofbronx present a lot of different vocal guests on this album: old friends like Doubla J and Gnucci Banana as well as two Jamaican female artists: to have Warrior Queen voicing "Dickie Riddim" was a great honor as well. Schlachthofbronx met Puppetmastaz and worked out the collaboration "One Hand," and the icing on the cake is the appearance of The King Of Booty Bass, DJ Assault. More on one album is just not possible.

180 gram double LP with a free CD version of the album. Munich's Schlachthofbronx present their second full-length album, Dirty Dancing. Since their debut album in 2009, Schlachthofbronx started touring almost non-stop: clubs & festivals all over Europe, supporting M.I.A. as well as solo tours in the U.S., Canada and Mexico. Be it between Melt, Roskilde, SXSW or Sónar, by now Schlachthofbronx could probably also run pro workshops in travel efficiency. However, all this travelling did not keep them from putting out new tracks on a regular basis. Alone in 2011, four new Schlachthofbronx EPs were released, plus plenty of remixes. Their tracks work as well in Ibiza as they do on the almighty BBC radio. No wonder top DJs can't keep their hands off: Crookers, Toddla T, Rob Da Bank, Diplo, Radioclit/TheVeryBest, Laidback Luke, Mistajam, Mr. Oizo, Annie Mac, you name it. You may call Dirty Dancing booty bass or just "dirty dance music." Influences are ghettotek, juke, UK bass, cumbia, dancehall/reggae, etc. Compared to the debut album, Schlachthofbronx opened up even more to different styles, sometimes even leaning towards techno -- and most obviously got more versatile when it comes to the tempo. Forget about the cliché 128 bpm club tempo dogma -- Dirty Dancing is dance music with heavy bass and the occasional explicit lyrics. In times in which everyone and their mothers put some cumbia in their tracks, pioneers like Schlachthofbronx are already seven steps ahead and experiment in their studio basement to see which other styles could work together -- ukuele bass, ghettotek/booty bomb, dancehall, electro, drum n' bass, surf bounce, moombahton and more. As expected, Schlachthofbronx present a lot of different vocal guests on this album: old friends like Doubla J and Gnucci Banana as well as two Jamaican female artists: to have Warrior Queen voicing "Dickie Riddim" was a great honor as well. Schlachthofbronx met Puppetmastaz and worked out the collaboration "One Hand," and the icing on the cake is the appearance of The King Of Booty Bass, DJ Assault. More on one album is just not possible.

The first double single of the upcoming album Dirty Dancing, the second full-length from Bavarian bass music duo Schlachthofbronx on Disko B Records. First track "Slowine" sounds sort of like techno cumbia -- everything starts off very slow and dark, leading into a steadily-moving low-end monster of a track. Slow, but massive. "Dickie Riddim" features Jamaican vocalist Warrior Queen on a stripped-down dancehall beat, with explicit lyrics adding her part to the overall theme of the album.

Special edition soundtrack -- numbered edition of 500 copies. Franco-German synth-pop duo Stereo Total score the soundtrack music to Underwater Love: A Pink Musical, a film by legendary Japanese pink-film director, screenwriter and actor Shinji Imaoka. Bouncy pop with Japanese lyrics. From Germany's Rapid Eye Movies and Japan's Kokuei Company comes a whimsical pink film musical about a woman and a sea creature. Directed by pink-film veteran Shinji Imaoka (Lunch Box, Frog Song), shot by Christopher Doyle -- the famed cinematographer behind Hero and countless films by Wong Kar Wai -- and with music by Germany's Stereo Total, Underwater Love: A Pink Musical promises to be unlike anything you've ever seen. Underwater Love: A Pink Musical was shot in 5 ½ days, one take only.

Four years after the last Console release Mono (DB 140CD/LP), it's time for some new vivid life signs of the famous Weilheim-based collective. This time, the new album titled Herself is a bit more of a solo attempt. Due to mastermind Martin Gretschmann's always-packed calendar, it's no surprise that first drafts of this album came to life on his laptop while on tour with The Notwist. The final recordings then took place in his studio together with singer Miriam Osterrieder and a bunch of electronic toys. Martin Gretschmann can be called -- in the best sense -- a creative factotum: The Notwist's electronic wizard since 1997, as well as member of the all-star combo 13&God (a collaboration by The Notwist and the Anticon hip-hoppers Themselves). Under his alter ego Acid Pauli, he not only performs extraordinary club sets but also brings some humor onto the minimal dancefloor. Herself is not a born-and-bred ambient album, but bristles with bright pop appeal. Gretschmann, the alchemist, synthesizes beats, sounds and samples, creating unpretentious melodies and atmospheres. Miriam Osterrieder's voice is much more present and smelts the sentiment between pop and ambient into simple, wonderful songs. Console has already caused quite a stir with their releases for different labels like the major Virgin as well as for seminal indies like Payola and Matador. They have made a live album, several radio plays, and have collaborated with Björk, Tocotronic and Depeche Mode. After Mono and the re-release of the debut Pan Or Ama (DB 144CD), this album is another step in Console's esteemed band history.

With his fourth studio album Impassive Skies, legendary Viennese producer Patrick Pulsinger draws the attention to the dancefloor. After his highly-acclaimed adventure into jazz with Easy To Assemble -- Hard To Take Apart and the classic Dogmatic Sequences Series (DB 142CD), comes an album that extends the unique combination of electronics and recorded instruments even further: synthesizers and hand-played drumboxes, not sequenced by the computer, carefully fitted into the musical performances. All the beautiful irregularities of the human groove with its switches and bleeps of the analog bubble-bath melt into a soundscape that reflects both the history of dance music and today's production techniques. All eight tracks on the album show great diversity in style and musical approach. The analog recording and mixing process and the wide dynamic range give the material a continuity that makes Impassive Skies such an intense and visionary listening experience. Several guest musicians and vocalists played an important part in the development of the album. Their involvement in the early stages of the compositions allowed Pulsinger to give room to their performances in the arrangement and shape the electronic sound around the instruments. Opening track "Grey Gardens" revolves around trumpet and improvisation genius Franz Hautzinger, whose narrative performance inspired its samba-esque feel, playful drum sequencing and Detroit-style synthesizer chords. In "Future Back" and title track "Impassive Skies" the outstanding soundscape of guitar experimentalist Christian Fennesz set a perfect background for Rhodes, grand piano and organ played by young jazz talent Martin Knorz, as well as modular synthesized drum patterns and Polaroid sampling by the legendary Sebastian Niessen of SND. There is a certain cosmic feel in the 2 tracks that feature the human clockwork Elektro Guzzi as rhythm combo. "Thong" is filled with tom-tom breaks and deep, driving bass. "Blame It" features the voice of Abe Duque with straightforward, dubbed-out disco catching a glimpse of vibraphone and vocoder. Other guest vocalists who bring elements of pop, new wave and punk to the album include G.Rizo and Teresa Rotschopf.

This is the debut full-length release by Munich's Schlachthofbronx, a trio already well-known all around the globe, although not a single track or production has been regularly released yet! Okay, you may find plenty of their tracks in lots of different versions all over the web, and at one time even at Fader.com, and soon after at Diplo's Mad Decent blog, along with airplay on radio shows of people like The Count & Sinden. Schlachthofbronx is the embodiment of Munich Bass, a dirty hybrid of African kuduro, South American cumbia, Caribbean soca/dancehall, Brazilian baile funk, Cape Verdean funana, American bootybass, UK dubstep, and Bavarian schranz. Schlachthofbronx is not just a tongue-twister for Anglo-hipster blogs -- their aim is to hybridize even Balkan brass and traditional Bavarian "Volksmusik." A sick mixture nobody else has ever tried before. They are also a DJ team with a hyperactive live set, which they characterize as "sampler/Kaosspad/drunkendancin'/synchronized towelshakin'/ravesiren/whistles/confetticanons/ghetto carnevalaction." Guest appearances from artists such as Ete Kelly, Doubla J, Kein Vorspiel, Slush Puppy Kids, Mic Moe, G.Rag & Die Landlergschwister, and Ron Foto.